Esa-Pekka Salonen writes a textural kaleidoscope for the cello

I have already said it but allow me to state it once again: Esa-Pekka Salonen is one of the most fascinating, interesting and exciting figures in classical music nowadays. His music playing, whether his own or others’, is imposing and delightful. I received the news of the release of a new piece of his like one of my favorite bands’, so as soon as I found out that he had recorded his Cello Concerto, performed by cellist extraordinaire Yo Yo Ma, my heart filled with expectation. Only a few seconds of this marvelous music were enough to confirm that this new score was something quite outstanding. The writing for the cello is immaculate, the lyricism is so well crafted that at times one feels that you are listening to a human voice. These are not just notes: these are moans, whispers, even exhalations. The music exudes color, which is why plenty of critics have justly pointed out influences of Messiaen (especially in the first movement) and Debussy. One of the great attributes of Salonen is the way he has written passages in which he assigns, almost like a movie director, qualities, roles or traits to the instruments -in particular the woodwinds and strings. Instead of just composing, Salonen seems to be leading the orchestra to the exact places he aspires to take his listeners. This is music as a voyage, its cinematic nature makes us think that we are going to some place we don’t quite know, but we just let ourselves go. The first movement feels severe, heavy yet not ominous. This is a movement in which we can identify the strong influence of some sort of French treatment on the individuality and clarity of the roles for each instrument. Sometimes it feels straight from the Ravel handbook, while the juxtaposition of textures and colors speaks more of a wink to Messiaen’s legacy, and at the last minute there are some sections played by the cellos that seem written by Ligeti. This first movement also plays as something fulfilled, complete -it could easily work as a whole independent piece of music. For the second movement those dark, heavy clouds seem to clear and give way to a lighter sky. For the first time in the score, the cello seems to carry the lead voice, one that is echoed with some electronic manipulation creating the impression of listening to a dialogue, or some sort of circular communication. The flute joins the conversation providing a sweet and intriguing counterpoint. The outcome is mesmerizing: you don’t really know what seems to be going on, but you don't care, you just trust the music, which in this case sounds like some sort of escape. The third movement comprises rhythm, highlighted by the appearance of percussive instruments like congas and bongos, which provide energy to an already upbeat score. The middle section features frantic passages, almost on the brink of despair. This Cello Concerto feels impressionistic. Salonen mentioned that he wanted to create an orchestral environment, which may explain that some of the passages feel like ambiances: static entities that seem to linger, instead of progressing. This piece is not easy, truth be told. It took me a while to get acclimated to the textures and moods the composer wanted to establish. However, it is well worth the effort. Once you get warm to the music, you don’t want to leave the space Salonen has designed. Whenever I experience Salonen, I always end up feeling hopeful for the present and future of classical music. Especially in anxious times like these, hearing such breathtaking music equals gathering strength and faith in believing that new great things will come indeed. In the meantime, we can always enjoy the music of this Finnish phenomenon. 

This is Nicolas Altstaedt playing Salonen’s Cello Concerto with the SWR Symphonieorchester, conducted by Christoph Eschenbach: